thursday january 31, 2013

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M100: Music Appreciation Discussion Group Ben Tibbetts, T.A. Welcome! Please sign the attendance at the front of the room. Thursday January 31, 2013

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M100: Music Appreciation Discussion Group Ben Tibbetts, T.A. Welcome! Please sign the attendance at the front of the room. Thursday January 31, 2013. Welcome Kristen’s Students!. Big class today. Heads up!. Get the book if you haven’t already: - PowerPoint PPT Presentation

TRANSCRIPT

Page 1: Thursday January 31, 2013

M100: Music AppreciationDiscussion Group

Ben Tibbetts, T.A.

Welcome! Please sign the attendance at the front of the room.

Thursday January 31, 2013

Page 2: Thursday January 31, 2013

Welcome Kristen’s Students!

• Big class today

Page 3: Thursday January 31, 2013

Heads up!

• Get the book if you haven’t already:

Listen to This by Mark Evan Bonds (Second Edition).

Optional: “MyMusicLab”

Page 4: Thursday January 31, 2013

Heads up!

• You’ll be taking the Elements Test next class (Tuesday).

• Remember: this will test you on material from discussion groups and the book.

• You’re allowed one hand-written double-sided 8 ½ x 11 sheet of notes.

• We aren’t on Moodle yet. In the meantime, the slides from today and last Tuesday can be found here:

www.bentibbetts.net/M100/spring2013/

Page 5: Thursday January 31, 2013

Email

• My students: please send me an email if you haven’t already with your full name and a link to some of your favorite music. This is so I have your email address and can send you updates, class info, etc.

[email protected]

Page 6: Thursday January 31, 2013

Today’s Agenda

• Pages 1-15

• Quickly reviewing some of Tuesday’s material.

• Collecting the Elements Packet.

• Musical notation and elements (continued).

Page 7: Thursday January 31, 2013

Review: The Musical Staff

• The lines are numbered #1-5 from bottom to top. Same with the spaces #1-4.

Page 8: Thursday January 31, 2013

Review: Treble Clef

• The treble clef (also sometimes called the “G clef” because the spiral circles around line number 2, or G) can be used to write notes in a high register.

• The placement of these notes is as follows:

Page 9: Thursday January 31, 2013

Review: Bass Clef

• The bass clef may be used to write notes in a low register. The two dots surround line number 4, or F.

• The placement of these notes is as follows:

Page 10: Thursday January 31, 2013

Review: The Beat

• The beat is a phenomenon which occurs in most music—it is a regular, recurring pulse around which musical events are temporally organized (i.e. organized with regards to time).

• Sometimes the beat is obvious and/or loudly represented by a percussive instrument. Other times, it’s very quiet, or even only implied.

Page 11: Thursday January 31, 2013

Review: Meter

• By accenting one beat over the others (make it unusually loud or emphatic), beats can be generally grouped together in clumps of two or three.

• When beats are regularly grouped together in this fashion, a meter has been established. Meter is an “underlying pattern of beats that maintains itself consistently throughout a work.” (page 517)

Page 12: Thursday January 31, 2013

Review: Duple versus Triple Meter

• If it sounds like beats have been grouped together in two-beat (or four-beat) patterns, then the music is said to be in duple meter (or “quadruple meter”—for the purposes of this course quadruple meter will be treated as equal to duple meter).

• If it sounds like the beats have been grouped in three-beat patterns, then the music is in triple meter.

• Sometimes, the difference between them can be difficult to notice. Other times, the music is clearly in one meter or the other.

• Not all music is in a regular meter.

• Music doesn’t have to stay in one meter throughout.

Page 13: Thursday January 31, 2013

Review: Measures

• In music notation, every group of beats is shown through the use of measures, or musical divisions shown by vertical barlines.

• Each of these is one complete measure:

Page 14: Thursday January 31, 2013

Review: Time Signatures• A time signature is made up of two numbers,

one on top of each other. (Although it’s not a fraction.)

• The top number indicates how many beats there are in every measure. In the example below, there are four.

• The bottom number indicates which note value “gets the beat”—[rephrased: which note value represents one beat].

Page 15: Thursday January 31, 2013

Review: Note ValuesThe “value” of a note (black or white note head, whether or not it has a

stem and a flag) determines how long that note is to be held. Note values are proportional: a “whole note”, the longest note value, always is twice as long as a half note. A half note in turn is twice as long as a quarter note, etc.

Page 16: Thursday January 31, 2013

Review: Time Signatures• The bottom number in a time signature indicates

which note value will represent the length of a single beat. If it’s a 4 (as it often is), then the quarter note is worth one beat (see the chart below).

Page 17: Thursday January 31, 2013

Review: Note Values• In the time signature where a quarter note is equal to one beat

(again, this is the most common situation), then the beat-measurements of all the other note values may be calculated arithmetically:

Page 18: Thursday January 31, 2013

Review: Rhythms• Measures are filled with endless

combinations of note values—these are called rhythms.

• For example: If a measure contains three beats, and the quarter note “gets” the beat, then that measure could be filled with three quarter notes. Notice: rhythms are totally unaffected by clefs.

Page 19: Thursday January 31, 2013

Review: Rhythms• Here’s another rhythm: Since a half note is

twice as long as a quarter note, the same measure could be filled with one half note and one quarter note (2+1=3).

There are endless other combinations.

Page 20: Thursday January 31, 2013

Review: Intervals

• An interval is the distance between two notes on the keyboard.

• If—counting the black keys—two notes are right next to each other, then they are said to be a half step apart.

• If there’s a note between them, then they’re a whole step apart.

Page 21: Thursday January 31, 2013

Review: Intervals• The distance between F and G is a whole step. And the distance

between B and C is a half step.• These notes correspond to notes on the page.

Page 22: Thursday January 31, 2013

Review: Sharp & Flat

• Black keys are described in relation to white keys. Two words and symbols are used to accomplish this: sharp (#) and flat ( ).

• Sharp indicates that the note has moved upwards by a half-step. C#, for instance, is the black note one half-step above C.

• Flat indicates that the note has moved downwards by a half-step. B , for instance, is the black note one half-step below B.

• These symbols are called accidentals. They are drawn beside the note head.

Page 23: Thursday January 31, 2013

Review: The Keyboard

Page 24: Thursday January 31, 2013

End of Review

• Questions?

Page 25: Thursday January 31, 2013

Harmony vs. Melody

• The melody or the “tune” can be defined as “a single line of notes heard in succession as a coherent unit” (pg. 517). It is often the most memorable aspect of a piece of music.

• Harmony is “the sound created by multiple voices playing or singing together” (page 516). Harmony also refers to the music which usually accompanies the melody—it is supplemental.

• Example: Music from Grave of the Fireflies (Japan) by Michio Mamiya.

Excerpt #1: Melody by itself.Excerpt #2: Melody accompanied by harmony.

Page 26: Thursday January 31, 2013

Texture

• Musical texture is “the number and general relationship of musical lines or voices to one another” (page 518).

There are three main types of musical texture:

• Monophonic (low complexity)

• Homophonic (medium complexity)

• Polyphonic (high complexity)

Page 27: Thursday January 31, 2013

Monophonic Texture or “Monophony”

• “A musical texture consisting of a single melodic line” (page 517).

• Melody alone

• Example: Underground Theme from Super Mario Bros. by Koji Kondo

Page 28: Thursday January 31, 2013

Homophonic Texture or “Homophony”

• “A musical texture in which a melody is performed with a supporting accompaniment” (page 516).

• Melody + Harmony

• Example: excerpt from Hurt by Trent Reznor (Johnny Cash cover)

• Example: excerpt from Cântec de Nunta (Romania) music by Gheorghe Zamfir (?)

Page 29: Thursday January 31, 2013

Polyphonic Texture or “Polyphony”

• “A musical texture consisting of multiple lines of equal importance” (page 517).

• Melody + Melody(s)

or Multiple Melodies + Harmony

• Example: The Tonight Quintet from West Side Story (music by Leonard Bernstein)

Page 30: Thursday January 31, 2013

Scales

• A scale is “a series of notes that provide the essential pitch building blocks of a melody” (page 518).

• Music based off major scales seems to generally evoke positive emotions.

• Music based off minor scales seems to generally evoke negative emotions.

Page 31: Thursday January 31, 2013

Scales

• A scale begins on the note it’s named after (i.e., the C Major scale begins on C).

• Listen: C Major Scale

Page 32: Thursday January 31, 2013

Intervals in the Major Scale

• The intervallic pattern for the major scale is WWHWWWH, or Whole-Whole-Half-Whole-Whole-Whole-Half

• On the keyboard: C to D is a whole step, D to E is a whole step, E to F is a half step, F to G is a whole step, G to A is a whole step, A to B is a whole step, and B back to C is a half step.

• Listen again: C Major Scale

Page 33: Thursday January 31, 2013

The Keyboard

Page 34: Thursday January 31, 2013

Minor Scales

• There are three minor scales: the natural minor, the harmonic minor, and the melodic minor.

• The intervallic pattern for the Natural Minor Scale is WHWWHWW.

• Listen: C Natural Minor Scale• Listen: C Harmonic Minor Scale• Listen: C Melodic Minor Scale

Page 35: Thursday January 31, 2013

Form vs. Genre

• Form is “the structure of a musical work; the way in which its individual units are put together” (page 516). What happens and in what order.

• Genre is “the category of a work, determined by a combination of its performance medium and its social function” (page 516). Why the music is being played, for what occasion.

Page 36: Thursday January 31, 2013

Timbre

• Timbre refers to the “character or quality of a sound” (518).

• It usually refers to an individual instrument or an isolated section of a piece.

• Video: “The Soundtrack” from Fantasia (1940)

Page 37: Thursday January 31, 2013

Dynamics• Dynamics refer to the volume of music or sound.• From softest to loudest: pp p mp mf f ff• Pianissimo = pp• Piano = p• Mezzo-Piano = mp• Mezzo-Forte = mf• Forte = f• Fortissimo = ff• Crescendo = gradually get louder.• Decrescendo = gradually get softer.

Page 38: Thursday January 31, 2013

Tempo• Tempo refers to the speed of a musical

meter—how fast or slow the beat is.• Point of confusion: Tempo does not describe

rhythms. Some music may be played at a slow tempo (with a slow beat) and still use fast rhythms (so there are many musical events between the slow beats).

• Example: two excerpts from First of the Year (Equinox) by Skrillex

Page 39: Thursday January 31, 2013

Final Reminders / Homework

• Don’t forget to pass in your Elements Packet

• Elements Test next class (optional 8 ½ x 11 sheet of notes)

• Questions? Email:[email protected]